DOI Artikel:
Pottery, porcelain, table glass and metal work
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19987#0222
POTTERY, PORCELAIN, TABLE GLASS
AND METAL WORK
'Hf^ HE Ruskin pottery excels in colour effects without defined
ornamental forms. Three vases in this ware are illustrated
-A- on page 163, of which the left-hand example is mottled
with dark green on red shading to purple, with cream colour at
the neck and base ; the right-hand one is flecked with “ pigeon's
blood ” on a cream ground ; and the middle one with dove-grey
upon a plain grey ground.
Other vases and also plaques, in “ aluminia ” faience (pages 164
and 165), are executed by the Copenhagen Company from designs
by Mr. J. Petersen. One of these plates, it is interesting to note,
bears the arms of Norway in the centre, with the initials of King
Haakon and Queen Maud, having been designed to commemorate
their coronation. Very different in conception and in aim are the
porcelain statuettes reproduced on page 166. The two dessert
plates on page 167, designed by Mr. J. W. Wadsworth, are exe-
cuted with slightly raised outline, which forms a series of beds
or matrices for the different colours.
Like the Ruskin pottery above mentioned, Messrs. Doulton’s
salt-glazed ware is distinguished chiefly for its colour. For, though
it admits of but a limited range of colours, it is particularly happy in
the semi-accidental effects due to the circumstances of the process
and to the great heat of the kiln in which it has to be fired. Four
examples are illustrated on page 167 ; a group of four more pieces
on page 168, however, showing the application of pattern to the
same ware. Next to them are some vases modelled in low relief
by Mr. Pope; while on page 165 is shown a presentation cup,
by the last-named designer, with badges in relief upon a band,
interrupted by three handles, after the fashion of a loving-cup.
In toilet ware and for tea and dinner services there is a continual
demand for fresh designs, yet it is rare to meet with anything quite
satisfactory. The cheaper specimens for the purpose are miserably
poor ; the more expensive apt to be too ambitious. What is
wanted is a design of a very simple unit, pleasing in itself, yet
sparingly and judiciously applied, so as scarcely to do more than
break the monotony of the surface, but not to the extent of obtruding
itself on one’s notice. Table services much covered with pattern are
in danger, by contrast to the white tablecloth, of presenting a sombre
appearance, which is a thing to be avoided. In fact it is always
wisest when purchasing a dinner service to choose it by artificial
light, the better to judge of its effect under the circumstances and
161
T
AND METAL WORK
'Hf^ HE Ruskin pottery excels in colour effects without defined
ornamental forms. Three vases in this ware are illustrated
-A- on page 163, of which the left-hand example is mottled
with dark green on red shading to purple, with cream colour at
the neck and base ; the right-hand one is flecked with “ pigeon's
blood ” on a cream ground ; and the middle one with dove-grey
upon a plain grey ground.
Other vases and also plaques, in “ aluminia ” faience (pages 164
and 165), are executed by the Copenhagen Company from designs
by Mr. J. Petersen. One of these plates, it is interesting to note,
bears the arms of Norway in the centre, with the initials of King
Haakon and Queen Maud, having been designed to commemorate
their coronation. Very different in conception and in aim are the
porcelain statuettes reproduced on page 166. The two dessert
plates on page 167, designed by Mr. J. W. Wadsworth, are exe-
cuted with slightly raised outline, which forms a series of beds
or matrices for the different colours.
Like the Ruskin pottery above mentioned, Messrs. Doulton’s
salt-glazed ware is distinguished chiefly for its colour. For, though
it admits of but a limited range of colours, it is particularly happy in
the semi-accidental effects due to the circumstances of the process
and to the great heat of the kiln in which it has to be fired. Four
examples are illustrated on page 167 ; a group of four more pieces
on page 168, however, showing the application of pattern to the
same ware. Next to them are some vases modelled in low relief
by Mr. Pope; while on page 165 is shown a presentation cup,
by the last-named designer, with badges in relief upon a band,
interrupted by three handles, after the fashion of a loving-cup.
In toilet ware and for tea and dinner services there is a continual
demand for fresh designs, yet it is rare to meet with anything quite
satisfactory. The cheaper specimens for the purpose are miserably
poor ; the more expensive apt to be too ambitious. What is
wanted is a design of a very simple unit, pleasing in itself, yet
sparingly and judiciously applied, so as scarcely to do more than
break the monotony of the surface, but not to the extent of obtruding
itself on one’s notice. Table services much covered with pattern are
in danger, by contrast to the white tablecloth, of presenting a sombre
appearance, which is a thing to be avoided. In fact it is always
wisest when purchasing a dinner service to choose it by artificial
light, the better to judge of its effect under the circumstances and
161
T